Clovis Trouille (1889-1975) - photo 1
Clovis Trouille (1889-1975) - photo 2
Clovis Trouille (1889-1975) - photo 3
Clovis Trouille (1889-1975) - photo 4

Clovis Trouille (1889-1975)

Lot 18
03.10.2024 16:00UTC +01:00
Classic
Sold
€ 94 500
AuctioneerCHRISTIE'S
Event locationUnited Kingdom, London
Buyer Premiumsee on Website%
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Archive
ID 1304190
Lot 18 | Clovis Trouille (1889-1975)
Estimate value
€ 80 000 – 150 000
Clovis Trouille (1889-1975)
La Morte en beauté (Hommage à Marilyn Monroe, La Fleur du Cinéma) ou La Belle révoltée ou La Morte en révolte ou Le Repos en révolte ou Offrande à la révoltée ou L'Idole éphémère ou L'Éphémère ou L'Idole qu'elle repose en révolte
signé 'Clovis Trouille' (en bas à droite); signé et inscrit '«La morte en beauté» Hommage à Marilyn Monroe la Fleur du Cinéma par Clovis Trouille 57 Avenue Mathurin Moreau Paris 19è' (au revers); inscrit '«La morte en beauté»' (sur le châssis)
huile sur toile dans le cadre de l'artiste
Image: 61.3 x 40.3 cm.
Cadre de l'artiste: 65.5 x 44.5 x 3.5 cm.
Peint en 1963

signed 'Clovis Trouille' (lower right); signed and inscribed '«La morte en beauté» Hommage à Marilyn Monroe la Fleur du Cinéma par Clovis Trouille 57 Avenue Mathurin Moreau Paris 19è' (on the reverse); inscribed '«La morte en beauté»' (on the stretcher)
oil on canvas in the artist's frame
Image: 24 1/8 x 15 7/8 in.
Artist's frame: 25 ¾ x 17 ½ x 1 3/8 in.
Painted in 1963




Provenance

Atelier de l'artiste.
Puis par succession aux propriétaires actuels.



Literature

J.-M. Campagne, Clovis Trouille, Ivry, 1969, p. 62 (illustré en couleurs).
R. Charmet et C. Trouille, Clovis Trouille, Paris, 1972, p. 21 (illustré en couleurs, p. 20).
C. Prévost, Parcours à travers l'œuvre de Clovis Trouille, Arles, 2003, p. 240 (illustré en couleurs; détails illustrés en couleurs, p. 67, p. 242 et p. 243).



Exhibited

Paris, Musée des Arts d’Afrique et d’Océanie, Exposition Clovis Trouille, octobre 1999-janvier 2000 (sans catalogue).
Ostende, Museum voor Moderne Kunst, Clovis Trouille, mars-novembre 2002.
Amiens, Musée de Picardie, Clovis Trouille, Un peintre libre et iconoclaste, avril-août 2007, p. 32 (illustré en couleurs, p. 33).
L'Isle-Adam, Musée d’Art et d’Histoire Louis-Senlecq; Charleville-Mézières, Musée Arthur-Rimbaud et Laval, Musée du Vieux-Château, Voyous, voyants, voyeurs, Autour de Clovis Trouille, novembre 2009-janvier 2011, p. 29, no. 18 (illustré en couleurs).



Further details

« Au-dessus du frontispice, c’est elle [Marilyn Monroe]. A gauche, Lollobrigada (amie de Marilyn) avec Nijinski. A droite, une femme dont je ne sais plus qui c’est, avec à ses côtés toujours Nijinski. »

‘Above the frontispiece, that’s her [Marilyn Monroe]. On the left, Lollobrigada (Marilyn's friend) with Nijinsky. On the right, there is a woman whom I cannot recall who she is, still with Nijinsky beside her.’

« La peinture, à mon sens, est anti-commerciale (pour le peintre, surtout) car c’est un travail très long ; les toiles devant être reprises longtemps après leur première finition. C’est ce que Cézanne appelait : sa petite sensation et que j’ai compris par une longue pratique. Les contrats exigeant une production régulière sont donc idiots, n’intéressant que des marchands, qui ne spéculent sur les toiles, que quand ils les ont en mains (sales), car souvent leurs auteurs sont crevés de misère. En peinture comme en tout, l’argent salit tout. Cézanne le comprit, en allant se réfugier à Aix, où il avait de quoi vivre. C’est pourquoi, j’estime que vous êtes dans la bonne voie, en ayant un second métier, comme Mallarmé et d’autres. D’ailleurs Vinci ne put vendre ses toiles divines. Elles étaient dans ses bagages quand il vint en France, invendues. Et les œuvres de Phidias furent détruites par des accapareurs, qui voulaient s’enrichir. Merde ! » Lettre à Rapin du 3 mars 1962, Paris.

‘Painting, in my opinion, is anti-commercial (especially for the painter) because it is a very time-consuming job; one needs to re-work the paintings long after they've been completed. This is what Cézanne called 'his little sensation', and I've come to understand it through long practice. Contracts that require regular production are therefore nonsensical, and are of interest only to the dealers. They only speculate on the paintings when they have them in their (dirty) hands, because often their creators die in misery. In painting, as in everything else, money tarnishes everything. Cézanne understood this when he took refuge in Aix, where he had enough to live on. That is why I think you are on the right track, by having a second job, like Mallarmé and others. Incidentally, Da Vinci was unable to sell his divine canvases. They were in his luggage when he came to France, as they remained unsold. As for Phidias’ works, they were destroyed by hoarders who wanted to get rich. Shit!’ Letter to Rapin, 3rd of March of 1962, Paris.
Address of auction CHRISTIE'S
8 King Street, St. James's
SW1Y 6QT London
United Kingdom
Preview
03.10.2024 – 03.10.2024
Phone +44 (0)20 7839 9060
Email
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